solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. slide solo: 550ms -- feedback: 7-8 repeats I used a Free the Tone Future Factory delay set for 300ms and long repeats. The last 8 minutes of the song is a rambling collage of echo repeats. The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: I change my echo settings fairly often in concert. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. ONE OF THESE DAYS - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song One of These Days from Pink Floyd's Meddle album in 1971. 1 2. My sound has everything to do with what sounds good to me. It can be simulated with a short 40-50ms digital delay with one repeat, like this: PARALLEL MIXING DELAYS - Stacking one delay after another in your signal chain can degrade your tone because your original signal travels through, and is altered by, two delay circuits before coming out the other end. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. The official live recordings often have an even larger delay sound than the studio versions. Delay volume 85% bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats It's a beautiful sound, but David did not use tape delays like this. Copyright Kit Rae. The S-O-S unit was basically a buffered interface with two send/returns. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): - David Gilmour, Guitar World magazine. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. Gilmour used a similar gated tremolo effect for the sustained chords in the verse sections of Money, using the noise gate from an Allison Research Kepex (Keyable Program Expander) studio module, modulated with an external sine wave generator (according to engineer Alan Parsons). It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. moderate reverb, probably from the plate reverbs at Abbey Road studios. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. A 300ms and 380ms delay had the heads repeating in these specific delay times. Solo: 440ms ? Both types have been described as "warm" sounding, which can get confusing. Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. solos: 375ms. MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. The Binson Echorec is an analogue echo unit made by Binson in Italy. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Gilmour uses pristine delays. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. This is actually not quarter-note triplets. David probably just uses the term triplet because what he does has a similar feel. He set the time to 310ms for most everything. You could get some wonderful delay effects that aren't attainable on anything that's been made since. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. David Gilmour Lead Guitar Tone PDF Download There is a 440ms delay on the guitars in the studio recording. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. middle keyboard section: 340ms -- feedback: 8-9 repeats To get the Pink Floyd sound, you'll need to use some specific equipment and settings. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Some are actually too high quality for my personal taste. Plate reverb is far more accurate. During the tour a T-Rex Replica was added specifically to use for "Echoes". He became known for this effect as he used it for his guitar solo in practically every queen concert. Delay volume 50%. Listen to some of the 5.1 live tracks separately and you can clearly hear this. The 4/4 delay can barely be heard on the studio recording and is really not necessary, but it is fun to experiment with two delays. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. Multiply 600 x 75% to get the triplet time delay of 450ms (or divide 600 by 4 to get the quarter note time of 150ms, multiply that X3 for a triplet time, which equals 450ms). Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. Divide 240 by 3 and you get 80. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. volume swells: 1100ms -- feedback: 4-5 repeats. Last update July 2022. The Echorec 2 had a 12 position switch to select among various combinations of heads. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. second solo before verse: 350ms -- feedback: 3-4 repeats verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: If running both delays in series, set the repeats however long you can go before oscillation starts, which is 8-10 repeats on most delays. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. This is the primary delay time you hear in the song. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. To add space to your tone, add a clean digital delay at the end of your signal chain. In 2006 the dry signal split off at the end of his pedal board signal chain into two separate loops, each going to a separate delay. He began using digital delays in place of the Echorec around 1977. Below is a link to a song-by-song list of Gilmour's delay settings, compiled from measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of his digital delays. The fill patterns played in the verse section sound dry, with almost no delay. It has a digital readout, but it's really nowhere close to being accurate. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: 1st delay 240ms. You can also get something similar with one 650ms delay set for 2 repeats. David Gilmour is famous for his unique use of delay and echo. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog I started off with a Binson Echo unit, which is like a tape loop thing. USING TWO DELAYS - David has stated he used two delays, one in 3/4 time (dotted eighth notes) and one in 4/4 time (quarter notes). delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: One of the ways to do that, is by using your effects creatively, just as he does. Below is my best guess at the delay times David used there. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: first solo: 507ms -- feedback: 2-3 repeats first solo: 310ms -- feedback: 2-3 repeats. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? The third delay is probably in 3/4 time, but I can barely hear it. Here are what the settings mean -. Echorec head 4 = 312ms / Echorec head 1 - 78ms middle section: 1500ms -- feedback: 10-12 repeats David Gilmour is famous for his unique use of delay and echo. Sometimes these are called "parallel mixers" or "looper" pedals. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. Here is my example of this sound. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. How to you get the proper 3/4 delay time from that 4/4 time? Volume 65% Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. second solo: 640ms -- feedback: 6-7 repeats Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Feedback: This is the number of audible repeats. The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. Give Blood To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. Volume 85% As technology was progressing, the use of rack effects units became more and more efficient. Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. The second delay David used was the MXR Digital M-113 Delay. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. I have two units, and I have different echo settings on both. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. alternate: 380ms, High Hopes - 2015/16 live version: NOTE: This website is frequently updated. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. If you break the beat into a four count, that second repeat would be on 4. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. This was most likely a reel-to reel recorder set up for a tape-loop delay. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Note that setting. Those are not the type of parallel setup we are talking about here. This is a big part of Pink Floyds sound. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. Why is that important? Below is a breakdown switching between the various tracks of all three solos. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): David used the DD-2 extensively in the mid to late 1980s, as well as using a Pete Cornish Tape Echo Simulator (TES) in 2006, which was a Boss DD-2 circuit with a selectable roll-off filter added to simulate the worn tape head sound of old tape delays like the Binson Echorec. solos: 660ms -- feedback: 6-7 repeats, Time: To figure a 4/4 delay time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): This is something us Gilmour fans have sought to recreate in our own playing. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. There is a misconception that David always used the Echorec for its multi-head function, but in reality he primarily used it in single playback head mode, just like any other typical delay. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. The main rhythm guitar, chords, and fills are all double tracked. The delays are set in series like this: David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. slide solo: 550ms -- feedback: 4-5 repeats Often what I hear in the recordings is just natural room or hall reverb. When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. 3rd solo: 430ms, Money solos - 2015/16 live version: One of These Days - gated tremolo section isolated. Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. Delay volume 90%. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). Scales David Gilmour is a big proponent of the minor and major pentatonic scales. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. Using Program position 3 for that part also works. It's actually a metallic disc that spins around. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. HOW TO FIND THE PROPER DELAY TIMES - You can go here for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes.